The Pomp and Circumstance Marches (full title Pomp and Circumstance Military Marches), Op. 39, are a series of six marches for orchestra composed by Sir Edward Elgar.The first four were published between 1901 and 1907, when Elgar was in his forties; the fifth was published in 1930, a few years before his death; and the sixth, compiled posthumously from sketches, was published in 2005–2006. They include some of Elgar's best-known compositions. The best known of the six marches, Pomp And Circumstance March No. 1 had its premiere in Liverpool on 19 October 1901. Elgar and his wife attended, and it was a "frantic" success. It was performed two days later in the Queen’s Hall London. The conductor remembered that the audience "...rose and yelled... the one and only time in the history of the Promenade concerts that an orchestral item was accorded a double encore." The Trio contains the tune known as "Land of Hope and Glory", and the result has become a fixture at the Last Night of the Proms, and an English sporting anthem and general patriotic song. In Canada, the Philippines and the United States, the Trio section "Land of Hope and Glory" of March No. 1 is often known simply as "Pomp and Circumstance" or as "The Graduation March" and is played as the processional tune at virtually all high school and some college graduation ceremonies. It was first played at such a ceremony on 28 June 1905, at Yale University, where the Professor of Music Samuel Sanford had invited his friend Elgar to attend commencement and receive an honorary doctorate of music. Elgar accepted, and Sanford made certain he was the star of the proceedings. As the graduates and officials marched out, "Pomp and Circumstance" March No. 1 began its legacy of becoming the most famous of Elgar’s music, and became a lasting tradition for all graduation ceremonies to adopt. This arrangement includes a new introduction and flourish at the end, both of which are optional in performance.

Land of Hope and Glory - Edward Elgar; arr. by Paul Noble

The Pomp and Circumstance Marches (full title Pomp and Circumstance Military Marches), Op. 39, are a series of six marches for orchestra composed by Sir Edward Elgar.The first four were published between 1901 and 1907, when Elgar was in his forties; the fifth was published in 1930, a few years before his death; and the sixth, compiled posthumously from sketches, was published in 2005–2006. They include some of Elgar's best-known
compositions. The best known of the six marches, Pomp And Circumstance March No. 1 had its premiere in Liverpool on 19 October 1901. Elgar and his wife attended, and it was a "frantic" success. It was performed two days later in the Queen’s Hall London. The conductor remembered that the audience "...rose and yelled... the one and only time in the history of the Promenade concerts that an orchestral item was accorded a double encore." The Trio contains the tune known as "Land of Hope and Glory", and the result has become a fixture at the Last Night of the Proms, and an English sporting anthem and general patriotic song. In Canada, the Philippines and the United States, the Trio section "Land of Hope and Glory" of March No. 1 is often known simply as "Pomp and Circumstance" or as "The Graduation March" and is played as the processional tune at virtually all high school and some college graduation ceremonies. It was first played at such a ceremony on 28 June 1905, at Yale University, where the Professor of Music Samuel Sanford had invited his friend Elgar to attend commencement and receive an honorary doctorate of music. Elgar accepted, and Sanford made certain he was the star of the proceedings. As the graduates and officials marched out, "Pomp and Circumstance" March No. 1 began its legacy of becoming the most famous of Elgar’s music, and became a lasting tradition for all graduation ceremonies to adopt. This arrangement includes a new introduction and flourish at the end, both of which are optional in performance.

Graduation March

“Distant Land" was written in 1991, inspired by the release of Nelson Mandela from prison. It was originally written as a choral piece, and later scored by Rutter as an orchestral version. This arrangement is written as a piece for combined Wind Band and Chorus. The choral part is shown in the score, but is not included as a part of the downloadable music. This arrangement is compatible with the published vocal score, available to purchase from Oxford University Press or their affiliates. When performing as a piece for Wind Band alone, the instrumentalists should play all their parts, including the cue size notes.

Distant Land (Version for Band and Chorus) - John Rutter; arr. by Paul Noble

Gustav Holst began composition of A Fugal Overture in 1922, completing the full score in January 1923. Despite its name, the overture is not strictly fugal. It belongs to the era of neo-classicism, but apparently by coincidence, for Holst had not yet heard some of the Stravinsky and Hindemith works which set this fashion. The “fugal” subject is full of spiky crossrhythms – Holst grouped the eighth notes (quavers) of his 4/4 into a pattern of 3 + 3 + 2, thus giving a bar of three unequal beats. The piece is intense and exciting, and should make an important addition to the repertoire of the Concert Band.

A Fugal Overture - Gustav Holst; arr. by Paul Noble

Symphonic Variations on an African Air is based on an African-American song, "I'm troubled in mind." In his foreword to "Twenty-four Negro Melodies", Coleridge-Taylor states, "What Brahms has done for the Hungarian folk-music, Dvorák for the Bohemian, and Grieg for the Norwegian, I have tried to do for these Negro Melodies. 
A message from Paul Noble: As the arranger, I want to share with the reader some of the techniques I have employed relating to the performance of the music. With 14 key changes, I have chosen to eliminate all key signatures in favor of an atonal approach. Players may be quite familiar with an F#, but less familiar with the key of F#! Pitch placement has also been an issue, with the decision to maintain it as in the original, seeing that a change of pitch would simply transfer issues without making the music more accessible. The decisions regarding enharmonics is a battle between musical integrity and technical facility. Choices have been carefully made between whether to use, for instance a B# or C, an E# or F, etc. Also, there is segmentation of technical runs, ossia options for more difficult ornamentations, and generous cueing of important solo lines. It has been my joy to make this important work available to Concert Bands around the world. PN

Symphonic Variations On An African Air - Samuel Coleridge-Taylor; arr. by Paul Noble

The Piano Concerto No. 2 in C minor, Op.18, is a concerto for piano and orchestra composed by Sergei Rachmaninoff between the autumn of 1900 and April 1901. The second and third movements were first performed with the composer as soloist on 2 December 1900. The complete work was premiered, again with the composer as soloist, on 9 November 1901, with his cousin Alexander Siloti conducting. The piece established Rachmaninoff's fame as a concerto composer and is one of his most enduringly popular pieces.
Some years ago Paul Noble, the arranger, had the privilege of conducting an orchestral performance of this work. In listening to the recording of that performance, he felt that it would make a magnificent work for a piano soloist with Concert/Wind Band accompaniment. "My thought has been that there must be many college level piano majors who would like to perform one movement of this work, which has seemingly become acceptable, since it is so complete by itself.  And now, with a band arrangement, the opportunities should expand for greater accessibility. While I have been immersed in arranging this magnificent music, the television is showing the horrors of the invasion of Ukraine, birthplace of Rachmaninoff, which is heartbreaking in today's world."

Piano Concerto No. 2 - Rachmaninoff (Concert Band arrangement

The Piano Concerto No. 2 in C minor, Op.18, is a concerto for piano and orchestra composed by Sergei Rachmaninoff between the autumn of 1900 and April 1901. The second and third movements were first performed with the composer as soloist on 2 December 1900. The complete work was premiered, again with the composer as soloist, on 9 November 1901, with his cousin Alexander Siloti conducting.  The piece established Rachmaninoff's fame as a concerto composer and is one of his most enduringly popular pieces.
Some years ago Paul Noble, the arranger, had the privilege of conducting an orchestral performance of this work.  In listening to the recording of that performance, he felt that it would make a magnificent work for a piano soloist with Concert/Wind Band accompaniment.  "My thought has been that there must be many college level piano majors who would like to perform one movement of this work, which has seemingly become acceptable, since it is so complete by itself.  And now, with a band arrangement, the opportunities should expand for greater accessibility.  While I have been immersed in arranging this magnificent music, the television is showing the horrors of the invasion of Ukraine,  birthplace of Rachmaninoff, which is heartbreaking in today's world."

Piano Concerto No. 2 - Rachmaninoff Complete Audio File

In the tradition of Britten, Holst, and Vaughan Williams before him, British composer John Rutter has composed a wonderful work, originally for strings based on the rich legacy of the folk music of the British Isles. World renowned for his choral music, John Rutter's work has become a modern classic. This work is based on four folk songs: They Are A-Roving; I Have a Bonnet Trimmed with Blue; O Waly Waly and Dashing Away With a Smoothing Iron.  Paul Noble's arrangement now brings this beautiful music to the world of the Concert/Wind Bands and their audiences.

Suite For Strings (Complete) - John Rutter; arr. by Paul Noble

Three Countryside Sketches was an adaptation of an earlier suite and included in a CD released in 2014.  The three movements are titled: 1. Market Day; 2. Pastorale; and 3. Point to Point.  The title names are descriptive of the music.  In Market Day, one can imagine strolling through an open-air village market where people walk, shop, stop, look, and continue on their way.  Pastorale is meant to evoke a peaceful rural scene;  Point to Point Point refers to an amateur, cross-country steeplechase with horses involved in hunting - a common leisure pursuit very popular in British rural communities. The technical demands have been segmented by the arranger to make the piece  more accessible without losing its intensity.

Three Countryside Sketches (Complete) - David Lyon; arr. by Paul Noble

Composer Roy Moore's Santa's Sleigh Ride brings to the Christmas collection a remarkable piece that at once is a happy, delightful, compelling, cute and a uniquely crafted rendition of Santa's Christmas Eve journey around the world. This represents a new setting of his orchestra work, now arranged for the Concert/Wind Band by a most grateful arranger, to have made acquaintance with such a noted composer. Enjoy!

Santa's Sleigh Ride - Roy Moore; arr. by Paul Noble

Composer Roy Moore's I Saw Three Ships adds a bold, new, and interesting interpretation to the familiar carol. 
It depicts his experience in composing music that reaches new heights and drama. This arrangement is scored for SATB Chorus with Band, but may be performed by Band alone. The choral parts are included with the band score and parts. Enjoy!

I Saw Three Ships, With Chorus (7 8 Time) - Roy Moore; arr. by Paul Noble

The Short Suite for Winds (originally Short Suite for Strings) is an arrangement of a string suite written in 1971 and included in a CD compilation issued in 1998. It is in four movements, each with a different character: 1. Rustic Dance - pictures a rural community engaging in a rather elaborate outdoor dance sequence ; 2. Gavotte - represents the very opposite: a formal and elegant ballroom dance; 3. Aria - is really a single song-like melody over simple accompaniment, building to a central climax before subsiding into silence; 4. Moto Perpetuo - (Continuous Motion) is a bustling melody in 6/8, while a contrasting tune with a slower rhythm in 3/4 is played against it.  The movement ends with an emphatic sforzando chord. Although it has had several live performances both in the UK and abroad, the majority of performances have been BBC studio broadcasts. During the 1960's and early '70's the composer was mainly writing similar light classical pieces for the BBC, most of which were subsequently published and recorded.  
The technical demands have been segmented by the arranger to make the piece more accessible without losing its intensity.

Short Suite For Winds (Complete) - David Lyon; arr. by Paul Noble

Program notes provided by the composer:  
Rondoletta is one of several miniatures for small orchestra dating from the 1960s and '70s. Despite its rather fanciful title, it is not a true Rondo in form, consisting of a brief introduction followed by the main theme repeated a number of times, progressing through various keys and instrumental colours. This theme is, for the most part, accompanied by a secondary theme, played in a higher register. The introduction returns (in a longer form) halfway through, forming a link between two sections, and the piece is rounded off with a brief coda.

RONDOLETTA

In 1846, Hector Berlioz conducted two concerts in Budapest to popularize his compositions. For this occasion, as it was usual in his era, he composed a few pieces for Hungarian melodies to win the favor of the audience. One of these pieces was an adaptation of the Rákóczi March that immediately became the favorite one of the audience as he noted in his memoirs: "...the hall was shaken by unprecedented shouting and stamping of feet. (…) We had to start again but on the second occasion, too, the audience could hardly or not at all control themselves, just like on the first occasion." With some modifications, he included this composition later in La damnation de Faust.
The Berlioz version has become a popular folk-music selection in Hungary, especially for weddings. The March is played at state and military celebrations and is the official inspection march of the Hungarian Defence Forces. The tune was used for decades as the morning signal of Kossuth Rádió at the beginning of the daily broadcast.

Marche Hongroise

Program notes provided by the composer: 
Overture to a Comic Opera was written in 1968, at a time when I was composing other similar 'light music' pieces in the hope of a BBC broadcast (happily realised!). It is in straightforward Sonata Form, featuring a short introduction followed by the two main themes.There is much use of imitative counterpoint, with the second theme played against itself at half speed, and a central 'development' section comprising a short, if rather elaborate, fugal treatment of the initial intro. Lasting only a few minutes, its brisk, compact structure, with a single tempo throughout, makes it unique among my compositions, and one with which I am particularly pleased - especially as I have found, in the intervening years, no reason to make any alterations!

Overture To A Comic Opera - David Lyon; arr. by Paul Noble

ADAGIO SERIOSO - David Lyon; arr. by Paul Noble

Program notes provided by the composer:  
The Waltzing Marionette has had rather a chequered history. Originally written for orchestra in 1970 as Waltz for Woodwind, it was subsequently arranged for wind band and given its present title. It was then re-written for orchestra in 2014, when it was recorded and published, and this final version has now received its second (and much more expert!) wind band adaptation. The music follows a familiar pattern: a brief, recurring introduction precedes a jaunty tune on the higher woodwind, which contrasts with a smoother-flowing melody that (in places) owes a distinct debt to Tchaikovsky. These themes are variously developed, until, after a brief pause, the  Coda introduces a slightly faster tempo, which gradually accelerates towards the assertive final bars.

The Waltzing Marionette - David Lyon; arr. by Paul Noble

Program notes provided by the composer:  
1. March
Over a steady marching tread, a solo flute introduces the main melody, joined in turn by the other instruments as the marchers approach.. After a sudden crescendo, the whole band bursts forth in a rather rowdy version of the tune before gradually calming down, with the woodwind leading us into a quiet Coda as the marchers disappear from sight. 

Divertimento for WInds- 1. March - David Lyon; arr. by Paul Noble

Program notes provided by the composer: 
2.Waltz 
After a brief intro, the main melody is characterised as a duet, initially between clarinets, then taken up by the other instruments. The brisk 3/4 waltz time is slightly disrupted by the occasional 5/4 bar. Otherwise, the melody passes through a series of variants which need no further analysis.  Trumpets and percussion are tacet in the Waltz, except for two notes on the triangle!

Divertimento for Winds- 2. Waltz

3.Serenade 
A quiet, harp-based introduction leads to a calm, serene melody on solo Oboe. This is given varied treatment by the other instruments, before a rising crescendo of overlapping modulations is crowned by a triumphant climax, before a gradual relaxation brings a return of the harp intro, fading into silence. (Note: All harp parts are covered elsewhere in the score.)

Divertimento For Winds - 3. Serenade - David Lyon; arr. by Paul Noble

Program notes provided by the composer: 
4. Jig 
A loud chord heralds a complete change of mood, as we are transported into the reckless world of the fairground. Over a rather unsteady brass rhythm, a high-spirited tune on the high woodwind is later taken up by the strings playing it at half-speed (but over the same rhythm), before they and the wind unite. However, the proceedings are soon interrupted by the trombones, playing a rather vulgar tune (marked pesante), as a circus band arrives. After other instruments have joined in, the original material re-asserts itself, before a big ritardando leads to the transformation of the high-spirited tune into a boisterous march. As this gradually quietens down, the basses recall the steady marching tread from the first movement. After a brief pause, the music speeds headlong into the final flourish.

Divertimento For WInds - 4 Jig; David Lyon; arr. by Paul Noble

Program notes provided by the composer:  
Divertimento for Winds dates from 1963, when I was studying at the Royal Academy of Music. I entered it for a student competition for a piece of light orchestral music, which it won. As well as a cash prize, it was guaranteed a broadcast, and entered the regular BBC repertoire. As a result it received numerous broadcasts in the following years, was published (under its original title of Divertimento for Small Orchestra) and eventually appeared on CD. It is in four movements. 
The work shows the influence of various composers, of which two are worth mentioning. I was very struck by the way Prokofiev's melodies tend to modulate through various keys within themselves, which gives them a particularly individual character, and virtually all the melodies in Divertimento do the same. Also, I was also at the time briefly enthused by the music of Malcolm Arnold, who delighted in throwing firecrackers into the rather staid world of British classical music. This rather rebellious, snook-cocking style is evident in both the March and the Jig.  
  1. March   
Over a steady marching tread, a solo flute introduces the main melody, joined in turn by the other instruments as the marchers approach.. After a sudden crescendo, the whole band bursts forth in a rather rowdy version of the tune before gradually calming down, with the woodwind leading us into a quiet Coda as the marchers disappear from sight. 
  2.Waltz   
After a brief intro, the main melody is characterised as a duet, initially between clarinets, then taken up by the other instruments. The brisk 3/4 waltz time is slightly disrupted by the occasional 5/4 bar. Otherwise, the melody passes through a series of variants which need no further analysis.    
3.Serenade   
A quiet, harp-based introduction leads to a calm, serene melody on solo Oboe. This is given varied treatment by the other instruments, before a rising crescendo of overlapping modulations is crowned by a triumphant climax, before a gradual relaxation brings a return of the harp intro, fading into silence.   
4:Jig   
A loud chord heralds a complete change of mood, as we are transported into the reckless world of the fairground. Over a rather unsteady brass rhythm, a high-spirited tune on the high woodwind is later taken up by the strings playing it at half-speed (but over the same rhythm), before they and the wind unite. However, the proceedings are soon interrupted by the trombones, playing a rather vulgar tune (marked pesante), as a circus band arrives. After other instruments have joined in, the original material re-asserts itself, before a big ritardando leads to the transformation of the high-spirited tune into a boisterous march. As this gradually quietens down, the basses recall the steady marching tread from the first movement. After a brief pause, the music speeds headlong into the final flourish.

Divertimento For Winds - (Complete) - David Lyon; arr. by Paul Noble

The "Funeral March" from Elgar's "Grania and Diarmid" is a piece of music characterized by a grand, somber tone, often described as "heroic melancholy," with a powerful and weighty feel, conveying a sense of tragic loss and grandeur, suitable for a solemn occasion while still retaining a certain epic quality. It is considered  one of Elgar's most notable pieces of incidental music, originally composed for a play based on an Irish legend about a love triangle with a tragic ending. Later he added the 'Incidental Music' with the horn call evocatively summonsing up the mystery of the ancient landscape leading in to the funeral march, combining an immense grandeur with a heartfelt, tragic sadness.

Funeral March from Grania and Diarmid - Edward Elgar; arr. by Paul Noble

Notes from David Lyon:
Gavottina was originally written for strings, now imaginatively arranged for wind band. The title is my adaptation of Gavotte, an 18th century courtly French dance. It has a very simple construction based around just one melody.

Notes from Paul Noble:
This arrangement is intended for performance especially by youth bands, with opportunities for everyone to experience the full instrumentation of the Concert/Wind Bands, with doubling and interesting percussion effects.  One idea might be to bring all mallet parts (xylophone, vibraphone, marimba, wood blocks) to the front of the stage for added visual interest to the performance.

Gavottina

Performed by Stadtmusik Zurich and Akademischer Chor Zurich, Niki Wuthrich, Director

Gloria, 1st. Mvmt. - John Rutter; arr. by Paul Noble

Performed by Stadtmusik Zurich and Akademischer Chor, Niki Wuthrich, Director

Gloria 2. Andante, John Rutter; arr. by Paul Noble

Magnificat anima mea (My soul doth magnify [the Lord]) is the first of seven movements comprising John Rutter’s setting of the
biblical canticle Magnificat, completed in 1990. Rutter was inspired by "jubilant celebrations of Mary in Hispanic cultures" and
conceived the work as a "bright Latin-flavoured fiesta".  In countries such as Spain, Mexico and Puerto R ico, feast days of the
Virgin are joyous opportunities to take to the streets and celebrate with singing, dancing and processions. This arrangement for
combined Concert Band and Chorus may also be performed by band alone, and is a faithful representation of the original composition.

Magnificat 1 - John Rutter, arr. by Paul Noble - Accademia Musicale Dodekachordon, Verona, Italy

The Suite of Cotswold Folkdances (not to be confused with “Cotswold Dances”) was commissioned by the Stroud Festival to celebrate HRH, the Princess Anne and her family taking up residence in the Cotswolds, near Stroud. The suite of dances is based on traditional Morris tunes prevalent in the Cotswolds at the turn of the century. Although the tunes themselves are left largely untouched, their implied harmonies and moods are treated more freely to create a balanced work for the concert hall. Numbers 2, 3, and 4 may recall more familiar variants since it is in the nature of folksong/dance for there to be more than one version when examples were transmitted, not always accurately, by word of mouth or note of pipe.

Suite of Cotswold Folkdances  II. Constant Billy - Philip Lane, arr. by Paul Noble

This magnificent setting of Walt Whitman's poem established Vaughan Williams's reputation as one of the leading composers of the twentieth century.  The idea of a spiritual journey - the passage of the soul from darkness to light, "Toward the Unknown Region" - is central to the text and fully reflected in the music. Beginning softly and simply, the music follows the text of the poem, building through a Wagnerian chromaticism toward a bold and dramatic climax. This was Vaughan Williams's first major choral piece, and its obvious inspirational qualities made it a success from the first.
This arrangement for Concert Band and Chorus adheres to the original orchestration. The choral parts are included in the conductor's score as a reference, but are not part of the download or printed version. The choral parts are available for purchase from Stainer & Bell Ltd, London, England (www.stainer.co.uk).

Toward The Unknown Region - Ralph Vaughan Williams, arr. by Paul Noble

Composed in celebration of the 70th anniversary of the Council for the Protection of Rural England, Look at the
world has become a favorite for children's as well as mixed choirs. The text is filled with beauty, hope, and inspiration.
This arrangement is intended for combined choir and band, but may be performed by band alone. It is technically not overly demanding for young players.

Look at the world - John Rutter; arr. by Paul Noble

The Toccata from Symphony No. 5 has become a favorite showpiece of master organists, and is the first of the toccatas characteristic of
French Romantic organ music. This Concert Band arrangement is faithful to the original score, with the woodwind arpeggios segmented and presented divisi to facilitate the technical demands. The power and magnitude of this composition lends itself well to the medium of the Concert Band.

Toccata - Widor ; arr. by Paul Noble - Wheaton Municipal Band, Dr. Bruce Moss, Conductor

Possibly the most English of all hymns, 'Jerusalem', with words by William Blake and Music written by Sir Charles Hubert Hastings Parry, by many is considered to be the unofficial anthem of England.
Interestingly, by some within the Church, Jerusalem they say is in fact not a hymn due to it not being a prayer or praising God. Possibly the most English of all hymns, 'Jerusalem', with words by William Blake and Music written by Sir Charles Hubert Hastings Parry, by many is considered to be the unofficial anthem of England.
Interestingly, by some within the Church, Jerusalem they say is in fact not a hymn due to it not being a prayer or praising God.
As such it has been removed from hymn lists, most notably at Southwark Cathedral.

Jerusalem - Hubert Hastings Parry; arr. by Paul Noble

"Psalm 150" was composed for the Golden Jubilee Service for HM The Queen, 4 June 2002. With the premiere performance in
St. Paul's Cathedral, London, the composer wanted to capture the acoustical qualities of the cathedral by placing three
soprano soloists high in the dome, from which they sang as a trio at key points in the music. This arrangement, when performed by Concert Band alone, has those parts written for three solo trumpets to be placed in the rear or balcony of the concert hall. The work is filled with pageantry and ceremony, ending with the sound of cathedral bells ringing dramatically over the powerful scoring for band.

Psalm 150 - John Rutter; arr. by Paul Noble

Edward Elgar's symphonic poem Polonia was composed as a tribute to Paderewski for a special concert honouring Poland on 6 July 1915.
Although the piece is mainly Elgar's own work, it includes quotations from the Polish National Anthem, other Polish patriotic songs, and themes from Paderewski and Chopin. Paderewski, to whom the work was dedicated, received it with genuine admiration. He wrote to Elgar after hearing the work for a second time in October:
"I heard your noble composition, my beloved Polonia, on two different occasions: deeply touched by the graciousness of your friendly thought, and profoundly moved by the exquisite beauty of your work, I write you a letter of sincere and affectionate appreciation."

Polonia - Edward Elgar; arr. by Paul Noble

The Pomp and Circumstance Marches (full title Pomp and Circumstance Military Marches), Op. 39, are a series of six marches for orchestra composed by Sir Edward Elgar.The first four were published between 1901 and 1907, when Elgar was in his forties; the fifth was published in 1930, a few years before his death; and the sixth, compiled posthumously from sketches, was published in 2005–2006. They include some of Elgar's best-known
compositions. 
March No. 5 is perhaps the only work he wrote after the First World War which recaptures the splendour and orchestral opulence of the earlier orchestral works.The time-signature imparts to the march a rhythmic swagger that never falters, although again the Trio theme adds a typical Elgarian tinge of mellow nostalgia to this glittering score.

Paul Noble

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